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THE LYRIC THEATRE BALTIMORE

FORTIETH SEASON, 1920-1921

INCORPORATED

PIERRE MONTEUX, Conductor

WEDNESDAY EVENING, NOVEMBER 3, at 8.15

WITH HISTORICAL AND DESCRIPTIVE

NOTES BY PHILIP HALE

COPYRIGHT, 1920, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED

THE OFFICERS AND TRUSTEES OF THEBOSTON SYMPHONY ORCHESTRA, Inc.

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President

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PIERRE MONTEUX, Conductor

Burgin, R.Concert-master.

Theodorowicz, J.

Gundersen, R.Pinfield, C.

Thillois, F.

Goldstein, S.

Deane, C.

Messina, S.

Violins.

Hoffmann, J.Mahn, F.

Berger, H.Hoffmann, E.

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Barth, C.

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Del Sordo, R.

Mullaly, J.

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Kluge, M.Zahn, F.

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Oboes.

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English Horns.

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LYRIC THEATRE BALTIMORE

FIRST CONCERT

Wednesday Evening, November 3

Owing to the illness of Madame

Stanley a change in the programme has

been made necessary.

Instead of the arias by Mendelssohn

and Tschaikowsky MABEL GARRISON will sing -

Llozart. . . . Recitative, "Mia SperanzaAdorata"

Rondo, "Ah non sai qual pena sia"

David "0 Charmant Oiseau" from"The Pearl of Brazil"

THE LYRIC THEATRE BALTIMOREMount Royal and Maryland Avenues

Thirty-sixth Season in Baltimore

Fortieth Season, 1920-1921

PIERRE MONTEUX, Conductor

FIRST CONCERT

WEDNESDAY EVENING,- NOVEMBER 3

AT 8.15

PROGRAMME

Sibelius . . - . . Symphony No. i in E-minor, Op, 39I. Andante ma non troppo; Allegro energico.

II. Andante fna non troppo lento.

III. Allegro.

IV. Finale (Quasi una Fantasia): Andante; Allegro molto.

Hill

Mendelssohn

Tschaikowsky

Berlioz .

Poem for Orchestra, "The Fall of the House of Usher"

(after Edgar Allen Poe)

Aria, "Infelice," Op. 94

Letter Scene from "Eugen Oniegin"

Overture, "Benvenuto Cellini," Op. 23

SOLOIST

HELEN STANLEY

There will be an intermission of ten minutes after the symphony

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Symphony in E minor, No. 1, Op. 39 Jan Sibelius

(Born at Tavastelms, Finland, December S, 1865; now living at Helsingfors.

)

Sibelius has thus far composed four symphonies. The first was

composed in 1899 and published in 1902. Was the first performance

at Helsingfors? I find no record of the date. The symphony was

played in Berlin at a concert of Finnish music, led by Robert

Kejanus, in July, 1900.

The symphony is scored for two flutes, two oboes, two clarinets,

two bassoons, four horns, ^three trumpets, three trombones, bass

tuba, kettledrums, bass drum, cymbals, triangle, harp, and strings.

* *

"Others have brought the North into houses and there transmuted

it to music. And their art is dependent on the shelter, and removed

from it, dwindles. But Sibelius has written music innocent of roof

and inclosure, music proper indeed to the vasty open, the Finnish

heaven under which it grew. And could we but carry it out into

the northern day, we would find it undiminished, vivid with all its

life. For it is blood-brother to the wind and the silence, to the

lowering cliffs and the spray, to the harsh crying of sea-birds and

the breath of the fog, and, set amid them, would wax, and take

new strength from the strength of its kin. . . . The orchestral

compositions of Sibelius seem to have passed over black torrents

and desolate moorlands, through pallid sunlight and grim primeval

forests, and become drenched with them. The instrumentation is

all wet grays and blacks, relieved only by bits of brightness wanand elusive as the northern summer, frostily green as the polar

lights. The works are full of the gnawing of bassoons and the

bleakness of the English horn, full of shattering trombones andscreaming violins, full of the sinister rolling of drums, the menacing

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reverberation of cymbals, the icy glittering of harps. The musicalideas of those of the compositions that are finely realized recall

the ruggedness and hardiness and starkness of things that persist

in the Finnish winter. The rhythms seem to approach the wild,

unnumbered rhythms of the forest and the wind and the flickering

sunlight" (Paul Rosenfeld *).

I.

Introduction: Andante ma non troppo, E minor, 2-2. Over adrum-roll that rises and falls in intensity a clarinet sings a mourn-ful melody, which is of much importance in the Finale of thesymphony.

The first violins, after the short introduction, give out the first

theme with imitative passages for violas and violoncellos, allegro en-

ergico, E minor, 6-4. There are two subsidiary motives : one for windinstruments, and one, derived from this last, for strings. A crescendoleads to a climax, with the proclamation of the first chief themeby full orchestra with a furious drum-roll. The second and contrast-

ing chief motive is given to the flutes, piano ma marcato, againsttremulous violins and violas and delicate harp chords. The con-

clusion of this theme is developed and given to the flutes withsyncopated rhythm for the strings. The pace is quickened, andthere is a crescendo, which ends in B minor. The free fantasia is

of a passionate nature with passages that suggest mystery ; heavychords for wind instruments are bound together with chromaticfigures for the strings ; wood-wind instruments shriek out cries withthe interval of a fourth, cries that are taken from one in the Intro-

duction ; the final section of the second theme is sung by two violins

with strange figures for the strings, pianissimo, and with rhythmstaken from the second chief theme. These rhythms in the courseof a powerful crescendo dominate at last. The first chief themeendeavors to assert itself, but it is lost in descending chromaticfigures. Again there is a crescendo, and the strings have the

second subsidiary theme, which is developed until the wild en-

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trance of the first chief motive. The orchestra rages until, after agreat outburst and with clash of cymbals, a diminuendo leads to

gentle echoes of the conclusion of the second theme. Now the sec-

ond theme tries to enter, but without the harp chords that first

accompanied it. Rhythms that are derived from it lead to defiant

blasts of the brass instruments. The movement ends in this mood.

II.

"The adagio * is steeped in his proper pathos, the pathos of brief,

bland summers, of light that falls for a moment, gentle and mellow,and then dies away. Something like a memory of a girl sitting

amid the simple flowers in the white northern sunshine hauntsthe last few measures" (Paul Rosenfeld).Andante, ma non troppo lento, E-flat major, 2-2. Muted violins

and violoncellos an octave lower sing a simple melody of resigna-

tion. A motive for wood-wind instruments promises a more cheerful

mood, but the promise is not fulfilled. The first bassoon, un pocomeno andante, and other wood-wind instruments take up a lamentwhich becomes vigorous in the employment of the first two themes.A motive for strings is treated canonically. There are triplets for

wood-wind instruments, and the solo violoncello endeavors to takeup the first song, but it gives way to a melody for horn with delicate

figuration for violins and harp, molto tranquillo. The mood of this

episode governs the measures that follow immediately in spite of

an attempt at more forcibly emotional display, and it is maintainedeven when the first theme returns. Trills of wood-wind instru-

ments lead to a more excited mood. The string theme that wastreated canonically reappears heavily accented and accompanied bytrombone chords. The orchestra rages until the pace is doubled,

and the brass instruments sound the theme given at the beginningof the movement to the wood-wind. Then there is a return to the

opening mood with its gentle theme.

* Mr. Rosenfeld is here loose in his terminology. For "adagio" read "andante."

—

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"The Andante is purest folk melody; and it is strange how weknow this, though we do not know the special time" (Philip H.Goepp).

III.

Allegro, C major, 3-4. The chief theme of the scherzo may besaid to have the characteristically national humor which seems to

Southern nations wild and heavily fantastical. The second themeis of a lighter and more graceful nature. There is also a themefor wood-wind instruments with harp arpeggios. These themes are

treated capriciously. The trio, E major, is of a somewhat moretranquil nature.

IV.

Finale (Quasi una fantasia), E minor. The Finale begins withthe melody of the introduction of the first movement. It is broadlytreated (violins, violas, and violoncellos in unison, accompaniedby heavy chords for the brass). It is now of an epic, tragic nature,and not merely melancholy. There are hints in the lower strings

at the chief theme, which at last appears, 2-4, in the wood-wind.This theme has a continuation which later has much importance.The prevailing mood of the Finale is one of wild and passionaterestlessness, but the second chief theme, Andante assai, is a broad,dignified, melodious motive for violins. The mood is soon turnedto one of lamentation, and the melody is now derived from the first

theme of the second movement. A fugato passage, based on the first

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theme with its continuation in this movement, rises to an overpower-

ing climax. There is a sudden diminuendo. The clarinet sings

the second theme, but it now has a more anxious and restless char-

acter. This theme is developed to a mighty climax. From here to

the end the music is tempestuously passionate.

The following paragraphs on Finnish music, and more particu-

larly on the music of Sibelius, are taken from Rosa Newmarch's"Jean Sibelius" :

—

"From its earliest origin the folk music of the Finns seemsto have been penetrated with melancholy. The Kanteletar, a col-

lection of lyrics which followed the Kalevala, contains one whichgives the keynote of the national music. It is not true, says theanonymous singer of this poem, that Vainomoinen made the

'Kantele' out of the jaw of a gigantic pike:

—

" 'The Kantele of care is carved,Formed of saddening sorrows only

;

Of hard times its arch is fashionedAnd its wood of evil chances.All the strings of sorrows twisted,All the screws of adverse fortunes

;

Therefore Kantele can neverRing with gay and giddy music,Hence this harp lacks happy ditties,

Can not sound in cheerful measures,As it is of care constructed,Formed of saddening sorrows only.'

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"These lines, while they indicate the prevailing mood of thefuture music of Finland, express also the difference between theFinnish and Russian temperaments. The Finn is more sober insentiment, less easily moved to extremes of despair or of boisterousglee than his neighbor. Therefore, while we find accents of tragicsorrow in the music of the Kussian peasantry, there are also con-trasting moods in which they tune their gusslees to 'gay and giddymusic.'

"The causes of this innate gravity and restrained melancholy of

the Finnish temperament are not far to seek. Influences climaticand historical have moulded this hyperborean people into whatwe now find them. Theirs is the most northern of all civilized

countries. From November till the end of March it lies in thrall

to a gripping and relentless winter; in the northern provinces thesun disappears entirely during the months of December and Janu-ary. Every yard of cultivated soil represents a strenuous conflict

with adverse natural conditions. Prosperity, or even moderatecomfort, has been hardly acquired under such circumstances.

"Situated between Sweden and Russia, Finland was for centuriesthe scene of obstinate struggles between these rival nationalities;

wars which exhausted the Finns without entirely sapping their fundof stubborn strength and passive endurance. Whether under Swed-ish or Russian rule, the instinct of liberty has remained unconquer-able in this people. Years of hard schooling have made them aserious-minded, self-reliant race; not to be compared with the Rus-sians for receptivity or exuberance of temperament, but more labori-

ous, steadier of purpose, and possessed of a latent energy which,once aroused, is not easily diverted or checked.

. . . "Sibelius's strong individuality made itself felt at the outset

of his career. It was, of course, a source of perplexity to the aca-

demic mind. Were the eccentricity and uncouthness of some of

his early compositions the outcome of ignorance, or of a deliberate

effort to be original at any price? It was, as usual, the public, not

the specialists, who found the just verdict. Sibelius's irregularities

were, in part, the struggles of a very robust and individual mind

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to express itself in its own way; but much that seemed weird andwild in his first works was actually the echo of the national spirit

and therefore better understood by the public than by the connois-

seurs. . . . From his novitiate Sibelius's melody has been stampedwith a character of its own. This is due in a measure to the fact

that it derives from the folk-music and the runo—the rhythm in

which the traditional poetry of the Finns is sung. The inviolable

metrical law of the rune makes no distinction between epos andmelos. In some of Sibelius's earlier works, where the nationaltendency is more crudely apparent, the invariable and primitive

character of the rune-rhythm is not without influence upon his

melody, lending it a certain monotony which is far from being de-

void of charm. 'The epic and lyric runes/ says Comparetti, 'are

sung to a musical phrase which is the same for every line; onlythe key is varied every second line, or, in the epic runes, at everyrepetition of the line by the second voice. The phrase is sweet,

simple without emphasis, with as many notes as there are syllables.'

Sibelius's melody, at its maturity, is by no means of the short-windedand broken kind, but rather a sustained and continuous cantilena,

which lends itself to every variety of emotion curve and finds its

ideal expression through the medium of the cor anglais. His har-

mony—a law unto itself—is sometimes of pungent dissonance andsometimes has a mysterious penetrating sweetness, like the harmonyof the natural world. In the quaint words of the Finnish critic

Flodin : 'It goes its own way which is surely the way of God, if weacknowledge that all good things come from Him.' It seems im-

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possible to hear any one of Sibelius's characteristic works withoutbeing convinced that it voices the spirit of an unfamiliar race. Hismusic contains all the essential qualities to which I have referredas forming part and parcel of the Finnish temperament."

"The Fall of the House of Usher," Poem for Orchestra (afterTHE STORY BY Poe), Op. 27 . . . . EDWARD BuRLINGAME HlLL(Born sit Cambridge, Mass., September 9, 1872; now living there.)

This orchestral work was composed in the summer of 1919 andrevised during the fall and winter of 1919-20. The score calls for

these instruments: three flutes (one interchangeable with piccolo),

two oboes, English horn, clarinet in E-flat, .two clarinets in B-flat

and A, bass clarinet, four horns, four trumpets (fourth ad lib.),

three trombones, bass tuba, kettledrums, bass drum, cymbals, tri-

angle, tam-tam, harp, celesta, and strings.

The composer writes : "It was not my intention to depict the

story scene by scene but rather to attempt to give in music animpression of the atmosphere of the story as a whole. For musicaltreatment I did associate the two themes with Roderick and Made-leine Usher, but entirely without descriptive realism save possibly

in the destruction of the house. Structurally the piece approachesclosely the abridged sonata form, or sonata without development,with a short introduction and a coda."

* *

"The Fall of the House of Usher" was first published in Burton'sGentleman's Magazine and American Monthly Review, owned andedited by William Evans Burton, a famous English low comedian.In 1839 Poe became the associate editor. The story was includedin "Tales of the Grotesque and Arabesque," by Edgar A. Poe, twovolumes (Philadelphia, 1840).

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"Infelice !" Concert Aria for Soprano Solo with Orchestral Ac-companiment, Op. 94 ... . Felix Mendelssohn Bartholdy

(Born February 3, 1809, at Hamburg; died November 4, 1847, at Leipsic.)

The Philharmonic Society of London passed a resolution on No-vember 5, 1832, asking Mendelssohn to compose for it "a symphony,an overture, and a vocal piece." The fee offered was one hundredguineas for the exclusive rights of performance during two years.

The symphony sent was the- "Italian"; the overtures—Mendelssohnsent two—were, perhaps, "Melusina" ; certainly the "Trumpet" ; the

vocal piece was the aria "Infelice," which originally had a violin

obbligato. The aria was sung for the first time at the Philharmonicconcert of May 19, 1834. The singer was Mme. Caradori-Allan

;

the violin was played by Henry Blagrove. Mendelssohn rewrotethe aria, and omitted the violin obbligato. The second version is

dated Leipsic, January 15, 1843.

The original aria was composed at Diisseldorf, where Mendelssohnhad been appointed in 1833 "director of all the public and private

musical establishments of the town for a period of three years,

with a salary of 600 thalers." He resigned this position late in 1835.

Infelice ! Gia dal mio sguardo si dileguo ! La mia presenza l'iniquo nonsostenne, e pur odiar nol posso ancor ! Rammenta al fin i falli, i tortisuoi,

risvegli la tua virtu ! Scordati l'empio traditore ! Amante sventurata ! el'amo pur? Cosi fallace amore le tue promesse attendi? tu non mai rendi la

rapita quiete? Queste son le speranze, e Tore liete!

Ah, ritorna, eta felice

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non v e contentosenza tormento nell' amor !

E pur la memoriadei giorni d' amorel'amaro dolorepud sol consolar.

I, unfortunate ! He has forsaken me now indeed ! He dared no longerreturn to brave my presence, yet in my heart I cannot hate him even now

!

Remember his misdeeds, the wrongs he's done thee, awaken thy sleeping pride?Banish from mind the ungrateful traitor ! A lover true no longer ! and still

beloved? It is so thy word thou keepest, love, thou beguiler ever? restorestnever peace to hearts thou dost ravish? What fair hopes did I cherish, whatfondness lavish

!

Ah, return, ye blissful moments,When, beside my love abiding,In his loyalty confiding,

Naught I knew of doubt or pain.

Ah, whatever melts my vision,

Calls to mind that hour Elysian,When I hearken'd to his vows.

Each leaflet on the bushes,Each brooklet 'mid the rushes,Tells of his love alone.

In vain, 'tis idle

!

Never contented,Save when tormented by love's smart

!

Yet only fond mem'riesOf days ere love did languishCan lessen the anguishThat dwells in my heart.

English version by Dr. Theodore Baker.

The recitative begins B-flat major, Allegro vivace, 2-2. The aria

begins B-flat major, Andante, 3-4.

The accompaniment is scored for two flutes, two oboes, two clari-

nets, two bassoons, two horns, two trumpets, and the usual strings.

* *

Maria Caterina Rosalbina Caradori-Allan (1800-65) was thedaughter of an Alsatian, Baron de Munck. Born at Milan, she waseducated musically by her mother, of Russian extraction, whosefamily name was Caradori. Obliged to earn her living, Mile. Cara-dori took to the stage. She made her debut at the King's Theatre,London, as Cherubino, on January 12, 1822. For many years she

was famous for the sweetness of her voice, her purity of intonationaud style, her personal beauty, but she shone on the concert stagerather than in opera, for she had little dramatic ability. She wasthe first soprano in England to sing in Beethoven's Ninth Symphonyand Mendelssohn's "Elijah." She was in the United States from the

fall of 1837 to the middle of July, 1839. Her first appearance wasas Rosina in "The Barber of Seville," at the Park Theatre, NewYork, on September 30, 1837, and she also appeared there as Amina,Cinderella, and Rosetta. Her first appearance in Philadelphia wasas Rosina, on February 12, 1838.

20

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Tatiana's Letter Scene from the OrERA "Eugene Oniegin," ActI., No. 9 Peter Ilyitch Tschaikowsky

(Born at Votkinsk, in the government of Viatka, Russia, May 7, 1840; died atPetrograd, November 6, 1893.)

"Eugene Oniegin/' lyric scenes, in three acts and seven scenes, wascomposed in 1877-78. The Letter Scene was completed on June 18,

1877. The first performance of the opera took place on March 29,

1879, by students of the Moscow Conservatory, in the small theatre.

The first performance in the Moscow Opera House was on January

23, 1881.

The libretto was arranged by the composer and K. S. Shilovsky

from Poushkin's poetical romance (1833) ; but the idea of the opera

originated with the singer Madame E. A. Lavrovsky.

Oniegin, a blase dandy from Petrograd, visits Lensky in the

country and through him meets Tatiana and her sister. Tatiana, a

sentimental, unsophisticated young woman, falls at once in love

with Oniegin. In the second scene, sitting in her moonlit chamber,

after her nurse has left her, Tatiana, wondering how Oniegin can

guess her secret, resolves in her innocence to write him a love-letter.

She thus pours out her soul. The nurse hesitates about giving the

letter to Oniegin, but at last consents.

The opera in concert form was performed at New York on Febru-

ary 1 and 2, 1908, by the Oratorio Society of New York, with the

New York Symphony Society, in Carnegie Hall. Walter Damroschconducted. The part of Tatiana was taken by Mary Hissem de

Moss; that of Oniegin by Emilio de Gogorza.

The first performance of the work, as an opera, in the United

States, was in Italian and at the Metropolitan Opera House, March

24, 1920. Larina, Flora Perini; Tatiana, Claudia Muzio; Olga,

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Frances Ingram; Filipjevna, Kathleen Howard; Oniegin, Giuseppede Luca; Lenski, Giovanni Martinelli; Prince Gremin, AdamoDidur; Triquet, Angelo Bada; Zaretski, Milo Picco; A Captain,Louis d'Angelo; Guillot, Adam Lellmann. Arthur Bodanzky con-

ducted.

It is said that in 1914 MedvediefFs Opera Company performedthree scenes of the opera at the Star Casino in New York.

Overture to the Opera "Benvenuto Cellini," Op. 23.

Hector Berlioz(Born at La Cote-Saint-Andr§, December 11, 1803 ; died at Paris, March 9, 1869.)

This overture was composed at Paris early in 1838. Prudhommesays it was composed probably in January of that year. Berlioz

wrote to Maurice Schlesinger, the publisher, on January 7, 1838:"It is absolutely necessary that I should rest and find a shelter fromalbums. For a fortnight I have searched vainly for three hours to

dream at leisure over the overture of my opera. The inability to

obtain them is a torture of which you have no idea, one that is abso-

lutely insupportable. I warn you then that if I were forced to live

on bread and water up to the moment when my score would be com-pleted, I do not wish to hear anything more about a criticism of anysort. Meyerbeer, Liszt, Chopin, and Kalkbrenner are not in needof my praise."

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It appears that after the production of "Guillaume Tell" at the

Paris Opera (1829), the operas previous to "Benvenuto Cellini"

had no overture, only an introduction. This was so even with"Robert le Diable" and "Les Huguenots."The overture was performed for the first time at the first perform-

ance of the opera "Benvenuto Cellini" at the Opera, Paris, Septem-ber 10, 1838. Francois Antoine Habeneck conducted from manu-script.

The first performance of the overture in Germany was at the

opera-house at Brunswick, March 9, 1843, at a concert given byBerlioz when he conducted. The overture was performed in Bostonat a Theodore Thomas concert, April 28, 1885. The programme said

"(new)"!The overture, when it was published in separate form, was dedi-

cated to Ernest Legouve, who had loaned Berlioz two thousandfrancs, that he might afford the time to complete the opera. It is

scored for two flutes (the second is interchangeable with piccolo),

two oboes, two clarinets (the second is interchangeable with bass

clarinet), four bassoons, four horns, two trumpets, two cornets-a-

piston, three trombones, ophicleide, a set of three kettledrums(played by three players), bass drum, cymbals, triangles, andstrings.

The score of the overture was published in June, 1839 ; the orches-

tral parts in April, 1855. The transcription by A. Fumagelli for

pianoforte, two hands, was published in September, 1852; for four

hands in July, 1856.

Composed and arranged by

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Hans von Btilow made a score for voice and pianoforte of theopera. His "Humoristische Quadrille" on themes from the operawas published in 1879.

Eight "morceaux de chant" appeared separately in 1838 in Paris

;

in 1846 the cavatina "Entre Pamour et le devoir" was published atVienna.The manuscript of the original score of the opera is in the library

of the Paris Conservatory. The library of the Opera contains acopy in three volumes (1838).

* •

The opera was originally in two acts, and the libretto was byLeon de Wailly and Auguste Barbier. The cast of the first perform-ance was as follows : Benvenuto Cellini, Duprez ; Giacomo Balducci,Derivis; Fieramosca, Massol; le Cardinal Salviati,* Serda; Fran-cesco, Wartel; Bernardino, Ferdinand Prevost; Pompeo, Molinier;un Cabaretier, Trevaux; Teresa, Mme. Dorus-Gras; Ascanio, Mme.Stoltz.

The story has been condemned as weak and foolish. It is alsowholly fictitious.f It is enough to say that in 1532 Cellini is inRome, called thither by the Pope. He falls in love with Teresa,the daughter of Balducci, an old man, who favors another suitor,

Fieramosca, the Pope's sculptor. Cellini attempts to elope withher, and neglects work on his Perseus, which he at last finishes in

an hour's time, fired by the promise of Cardinal Salviati to reward

* The librettists originally introduced Tope Clement VII. The censor obliged themto substitute a Cardinal. Berlioz wrote to his sister Adele on July 12, 1838, "It would,however, have been curious to see Clement VII. at loggerheads with Clement VII." ForClement's quarrel with Benvenuto and scenes with Salviati, "that beast of a Cardinal."see J. A. Symonds's translation of "The Life of Benvenuto Cellini" New York, 1890,pages 124—139. His Holiness took Benvenuto into favor again, and when he died soonafterwards, Benvenuto, putting on his arms and girding his sword, went to SanPiero and kissed the feet of the dead Pope, "not without shedding tears."

t It is true that there was a Giacopo Balducci at Rome, the Master of the Mint.Cellini describes him "that traitor of a- master, being in fact my enemy"; but he hadno daughter loved by Cellini. The statue of Perseus was modelled and cast at Florencein 1545, after this visit to Rome, for the Duke Cosimo de' Medici. Nor does Ascanio,the apprentice, figure in the scenes at Florence.

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him with the hand of Teresa. It should also be said that Cellini

and his pupils and friends are disgusted early in the opera at apaltry sum of money given to Cellini by the Pope through Ascanio,but only after he had promised solemnly to complete the statueof Perseus. They decided to revenge themselves on the stingy andavaricious treasurer, Balduccj, by impersonating him in the theatre.

Fieramosca, who has overheard the plot, calls in the help of Pompeo,a bravo, and they plan to outwit Cellini by adopting the samecostumes that he and his pupil Ascanio * will wear. The pantomimeof "King Midas" is acted, and Balducci, among the spectators, rec-

ognizes the king in a caricature of himself. He advances to layhands on the actor; Cellini profits by the confusion to go towardsTeresa, but Fieramosca also comes up, and Teresa cannot dis-

tinguish her lover on account of the similarity of the masks. Cellini

stabs Pompeo. He is arrested, and the people are about to kill

him, when the cannon-shots announce that it is Ash Wednesday.The lights are turned out, and Cellini escapes.

The thematic material of the overture, as that of "Le CarnavalRomain," originally intended by Berlioz to be played as an "intro-

duction to the second act of "Benvenuto Cellini," but first performedat a concert in Paris, February 3, 1884, is taken chiefly from theopera.

The overture opens, Allegro deciso con impeto, G major, 2-2, withthe joyful chief theme. This theme is hardly stated in full whenthere is a moment of dead silence.

The Larghetto, G major, 3-4, that follows, begins with pizzicato

notes in the basses and a slow cantilena, taken from music of theCardinal's address in the last act : "A tous peches pleine indulgence."

(The original tonality is D-flat major.) This is followed by a melodyfrom the "Ariette d'Arlequin" f (wood-wind and also violins). The

* "Ascanio," opera in five acts, libretto by Louis Gallet, music by Camille Saint-Saens, was produced at the Opera, Paris, March 21, 1890. The libretto was based ona play, "Benvenuto Cellini," by Meurice and Vacquerie (1852). The operatic cast wasas follows : Benvenuto, Lassalle ; Ascanio, Cossira ; Frangois I., Plangon ; Charles V.,Bataille ; Colomba, Emma Eames ; La Duchesse d'fitampes, Mme. Adiny ; Scozzonne,Mme. Bosman.

t The little air of Harlequin in the Carnival scene, the finale of the second act(later edition), is played by the orchestra, while the people watching the pantominesing :

—

Regardons bien Maitre Arlequin,Cest un fameux t6nor romain."

The original tonality is D major.

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trombones hint at the Cardinal's theme, with changed rhythm andwithout pauses. This is now played (E-flat major) by clarinets,

bassoons;-and violoncellos, with florid passages for first violins, thenfor flute and oboe. The Harlequin theme returns, and is worked upto a short climax.

The main body of the overture begins with the return of the first

and joyous theme, Allegro deciso con impeto, G major, 2-2, whichis somewhat modified. The motive is given to the wood-wind over

syncopated chords in the strings and a restless pizzicato bass. Theinstrumentation grows fuller and fuller until the violins take the

theme, and they and the wood-wind instruments rush fortissimo to

a gay subsidiary motive, which consists of passage-work in quicklymoving eighth notes against a strong rhythmed accompaniment.This development is extended, and leads, with hints at the rhythmof the first theme, to the second motive, a cantabile melody in

D major, 2-2, sung by wood-wind instruments over an accompani-ment in the middle strings, while the first violins hint occasionally

at the rhythm of the first motive. This cantilena, which has refer-

ence to Cellini's love for Teresa, is repeated by first violins andviolas in octaves,* while second violins and violoncellos still havethe tremulous accompaniment, and bassoons and double-basses havea running staccato bass.

The working-out is elaborate. Nearly all of the thematic material* "This writing for first violins and violas (instead of for first and second violins)

in octaves seems to have been a favorite device with Berlioz. There is much to besaid in its favor, little as it has been done (upon the whole) by other composers. Mozartknew the secret well ; but comparatively few of the more modern masters of orchestra-tion have had recourse to it."—W. F. Apthobp.

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enters into it. A recitative-like phrase for violoncellos assumesimportance later. The transition to the third part of the movementbrings in unexpectedly the first theme (wood-wind) in- A minor,

and the full orchestra suddenly gives a fortissimo repetition of it

in G major.In the third part of the movement the trombones and ophicleide

take up the violoncello phrase just alluded to, and make a dramaticuse of it against developments in counterpoint of figures taken fromthe first subsidiary. The brass plays a thunderous cantus firmus,

the cantilena of the clarinets, bassoons, and violoncellos, in the slow

introduction (the Cardinal's theme), against sustained chords in

the wood-wind and rapid counterpoint for violins, violas, and first

violoncellos. This counterpoint is taken from the first subsidiary

theme. Shortly before the end there is a general pause. The Cardi-

nal's theme is heard once more ; a quick crescendo brings the end.

* *

Berlioz planned the composition of "Benvenuto Cellini" early in

1834. He wished to write a semi-serious opera, depicting passions

;

a work abounding in surprises, contrasts, crowds in action-, a workwith local color. He chose for his hero Benvenuto Cellini, "a banditof genius/' as he characterized the Italian artist. Adolphe Boschotthinks that Berlioz found himself in Cellini, a brother of ChildeHarold and of the declaiming artist in Berlioz's "Retour a la Vie,"

undisciplined, torn by passions, mocked by the stupid bourgeoisie, ahero of 1830. The musician saw Rome, its monuments and squares,

dagger-thrusts, open-air harlequinades. Excited by reading Cellini's

Memoirs and E. T. A. Hoffmann's short story "Salvator Rosa,"Berlioz wished Alfred de Vigny to write a libretto, with Cellini as

the hero. Vigny, busy, recommended Wailly, who in turn soughtthe aid of Barbier; but Vigny criticised and corrected and sug-

gested until nearly the time of performance. The libretto was readto the management of the Opera Comique in August, 1834. It wasrejected. aThey are afraid of me," wrote Berlioz; "they look onme at the Opera-Comique as a sapper, an upsetter of the national

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genre; they refuse the libretto, that they will not be obliged toadmit the music of a madman."

Berlioz wrote on October 2, 1836, that all he had to do was toorchestrate the work. On April 11, 1837, he wrote, "My opera is

finished." The first mention made by Berlioz of the opera was ina letter to Ferrand, the 15th or 16th of May, 1834; on August 31of that year the libretto was ready and the "Chant des Ciseleurs,"which opens the second scene, was composed. This music was per-

formed at concerts given by Berlioz, November 23 and December 7,

1834, and then entitled "Les Ciseleurs de Florence : trio with chorusand orchestra."

In 1837 Heinrich Heine wrote from Paris: "We shall soon havean opera from Berlioz; the subject is an episode from the life of

Benvenuto Cellini, the casting of his Perseus. Something extraordi-nary is expected, for this composer has already achieved the ex-

traordinary." And Heine regretted that Berlioz had cut off his

immense antediluvian bush of hair that bristled over his foreheadlike a forest over a steep precipice.

The letters and memoirs of Berlioz give much information con-cerning his trials and tribulations in the rehearsal and productionof the opera. The music was considered so difficult that there weretwenty-nine full rehearsals. According to the rule of the Parisianopera-houses, Berlioz was not allowed to conduct his own work.Habeneck was apparently unfriendly. Some of the orchestralplayers found the music very original ; others were indifferent, bored,hostile; two in place of playing their part were heard by Berlipzplaying the old tune "J'ai du bon tabac." On the stage, maledancers would pinch the ballet girls and cry out with them, ming-ling their cries with the voices of the singers. Duponchel, the direc-

tor of the opera-house, did not interfere; he did not condescend to

attend the rehearsals. When he heard that some of the orchestraadmired the music, he remarked : "Did you ever see such a shifting

of opinion ! Berlioz's music is found to be charming and ouridiotic musicians praise it to the skies."

The performance was announced for September 3, 1838, and in

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LYRIC THEATRE

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several books of reference this date is given as that of the first

performance; but Duprez had a sore throat, and the performancewas postponed until the 10th. The second and the third were onSeptember 12 and 14, and there were no more that year. Therewere four in 1839, and at the first, January 10, Alexis Dupontreplaced Duprez. Alizard replaced Derivis after the firsthand in1839 Miss Nau was substituted for Mme. Dorus-Gras.

Meyerbeer, Paganini, and Spontini were present at the first per-formance. Don Frangois de Paule, brother of the Queen of Spain,sat in the royal box surrounded with princesses. The audience wasa brilliant one, but the opera failed dismally, although the musicwas praised by leading critics, and Theophile Gautier predicted thatthe opera would influence the future of music for good or evil.

Berlioz was caricatured as the composer of "Malvenuto Cellini."

According to Berlioz's account of the performance the overturehad "an exaggerated success, and all the rest was hissed withadmirable ensemble and energy." Duprez was excellent in theviolent scenes, but his voice no longer lent itself easily to gentlepassages, to music of revery. Mmes. Dorus-Gras and Stoltz foundfavor with Berlioz, and of the latter he wrote : "Mme. Stoltz drewsuch attention in her rondo of the second act, 'Mais qu'ai-je done?'that this role [Ascanio] can be considered as her point of departuretoward the extravagant position she acquired later at the Opera fromthe height of which she was so brusquely hurled." But GustaveBord in his Life of Rosina Stoltz (Paris, 1909) says that as Ascanioshe did not add much to her reputation. "It was only stated that

as her legs were well made, the male part was well suited to her."*

The stage settings were mediocre, as though the management hadexpected a failure and prepared for it. Familiar or trivial expres-

sions in the libretto provoked laughter. The libretto was condemnedbefore the end of the first scene. As for the music, the audiencedid not hear or care. There was laughter, there was hissing ; there

were imitations of animals; there was even a ventriloquist. Onlythe two women on the stage were undisturbed. Boschot saysthat Duprez sang "in a condescending manner."The next morning Berlioz made cuts in the score and corrections

in the libretto. The second performance was on September 12. Asmall audience; receipts, 2,733 francs, the half of an average

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receipt. There was no hissing, but the applause in the half-emptyhall was pathetic. Third performance on September 14: A smallaudience; receipts below 3,000 francs.

The majority of the critics were favorable towards Berlioz andthe opera. Perhaps they wished to raise him, a colleague in criti-

cism, from his fall. Theophile Gautier recalled the heroic days of

1830.

Not until 1913 was there a revival of "Benvenuto Cellini" in Paris.

It was at the Theatre des Champs-filysees, on March 31, 1913, byGabriel Astruc. Teresa, Mile. Vorska; Benvenuto, Lapelleterie

;

Ascanio, Judith Lassalle; other parts were taken by Messrs. Petit,

Danges, Blancard. Felix Weingartner conducted. There were six

performances.»

* *

For a careful study of "Benvenuto Cellini" by Julien Tiersot see

Le Menestrel for 1905, Nos. 6, 8-15, 23, 26, 27. For a once famousarticle on the overture to "Benvenuto Cellini" see Louis Ehlert's

"Briefe tiber Musik an eine Freundin," pages 126-133 (Berlin, 1868)

.

See also Joseph d'Ortigue's "De l'ficole musicale italienne et del'administration de l'Academie royale de Musique a Poccasion del'opera de M. H. Berlioz" (Paris, 1839).

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" Baltimore's Exclusive Bird Store"

422 NORTH CHARLES ST.

Telephone, Mt. Vernon 4847

Bird and Dog

Supplies

Cages and Stands

Made of

Metal and Wicker

SEVENTY YEARS* REPUTATION

An old and reliable remedy for throat troubles caused by cold or use of the voice Free from opiates in anyform. Sold only in boxes—never in bulk. Prices, 15c, 35c, 75c, $1.25, at druggists or by mail

N? Q CAMPHORATED 1T| IF M T I I? I? 7 iT* IFp SAPONACEOUS U ILa &% I IF EILtWill keep the teeth and gums in healthy condition. Price. 30c at druggists or by mail

JOHN I. BROWN & SON. BOSTON. MASS.

35

To the historical Lyric Theatre, which, through the recent action of

public-spirited citizens, may now continue to make possible the performanceof the finest music in Baltimore, comes the Boston Symphony Orchestra in

its fortieth anniversary season.

This combination of circumstances recalls the interesting fact that the

Lyric Theatre, originally called Music Hall, was formally opened in 1 894 witha Boston Symphony Concert. The programme was as follows:

MR. EMIL PAUR, Conductor

SEASON 1894-95

FIRST CONCERT, WEDNESDAY EVENING, OCTOBER 31

At Eight

PROGRAMME

RICHARD WAGNER Prelude to " Die Meistersing von Nuernberg "

AMBROISE THOMAS Romanze, "Mignon"Mons. Maugiere

VERDI Aria, "Don Carlos"Mons. Plancon

HAENDEL "Sweet Bird" (Air de Rossignol de " L'Allegro et ilPenseroso")Mme. Melba

Flute obligato by Mr. Charles Mole

CHABRIER Prelude to Act II of " Gwendoline"

GLUCK "Che faro" from " Orpheus"Mme. Scalchi

SCHUMANN Song, "The Two Grenadiers"Mons. Plancon

ARDITI Waltz, "SeSaran Rose"Mme. Melba

MENDELSSOHN Notturno, Scherzo, and Wedding March from

"Midsummer-Night's Dream" music

VERDI Quartette, "Rigoletto''

Mesdames Melba and Scalchi

Messrs. Maugiere and Plancon

BRAHMS "Academic Overture"

Solo Artists:

Mme. Melba Mons. Maugiere

Mme. Scalchi Mons. Plancon

36

MUSICAL INSTRUCTION.. TENOR .,

VOCAL STUDIOS

22 West 39th Street, New York CityTelephone, Fitz Roy 3701

Mr. Van Yorx" has frequently appeared with the Boston Symphony Orchestra

VOICE TRIALS BY APPOINTMENT ONLY

. TEACHER OF SINGING602 PIERCE BUILDING

COPLEY SQUARE . . BOSTON

PIANO, ORGAN, HARMONY andINTERPRETATION

18 Huntington Avenue . . Boston, Mass.Telephone, 3414-R Back Bay

TEACHFR OFVOICE CULTURE and ART OF SINGING

STUDIO103 HEMENWAY STREET . BOSTON

PIANIST and TEACHER

CARNEGIE HALL NEW YORK

TEACHER OF SINGINGSTEINERT HALL

162 BOYLSTON STREET

ELIZABETH

AMERICAN PIANIST

Founder of "The Thought-balanced TechnicManagement: J. W. Miller. 1400 Broadway. N.Y.

BOSTON|

Studio: 6 Newbury St.. Boston. B. B. 3529-R

.

For Advertising Space in Baltimore and

Washington Programmes of the Boston

Symphony Orchestra, address Moses

Advertising Service, Munsey Building,

Baltimore, Md.

The

S T RA DIVA It 1 U S

. of Pianos

THE

PIANO

HAS set a NEWstandard of tone

and value and has

long commanded the

highest price of any

piano in the world.

MASON & HAMLIN CO.BOSTON NEW YORK

Baltimore Representatives

KRANZ-SMITH PIANO COMPANY100 North Charles Street, corner Fayette